Approximately one half of Vivaldi's sacred vocal music was written for solo voice; although most pieces were written before 1720, the most distinguished, of which some are represented on this recording, come from the 22-year period between his leaving the Ospedale della Pietà in 1719 and his death in 1741. For a composer renowned for his achievements in the field of the solo concerto, Vivaldi's solo sacred music presents an intriguing facet to his musical style - this is not the Vivaldi of the Four Seasons, since the music is highly contrapuntal and its emotive content equivalent to any contemporary opera aria. The psalm setting of Nisi Dominus is comparatively rare in that it is scored for a solo voice. Remarkably diverse in its treatment of mood and style, the setting ranges in style from recitativo accompagnato to the beautiful lyricism of the Gloria Patri, in which the voice, scored almost as a solo instrument, dialogues with a viola da gamba with sublime melodic phrases and emotive word-setting. Performed for the Feast of the Visitation of the Blessed Virgin Mary, the Clarae stellae, scintillate reveals the regular concerto format of two arias separated by a recitative and followed by an Alleluia. Due to its more conventional format, this is the least original (for want of a better word) setting of those presented here; the second aria, Coeli repleti iam novo splendore, has a distinctly dance-like flavour which, in the words of Michael Talbot in his excellent liner notes, is 'distinctly bucolic', a characteristic that also persists throughout the final hallelujahs.

...warmth, solid technique and exceptional musicality abound from every direction.

The Salve Regina (RV 616), one of two settings for alto and double orchestra written during Vivaldi's middle period, uniquely requires two recorders and a transverse flute. This is a work of musical contrasts - Vivaldi exploits the opposition between the two string ensembles, and, of the six movements, only unites his orchestra in the fourth (Eia ergo, advocata nostra) where appropriately the voice approximately shadows the predominantly unison playing of the orchestra.

In the past decade, Andreas Scholl's name has become synonymous with quality; he is a rare breed of singer, one whose sound is never sterile or inaccurate, and whose sense of the dramatic is only equalled by an exceptional vocal agility. This release, alongside the Australian Brandenburg Orchestra, seems to reaffirm his standing as an artist of exceptional value. His intonation is never in doubt, enunciation always clear, and phrasing and articulation so much the essence of musicianship that the bright clarity of sound might, by the more cynical amongst us, be confused with a certain complacency, since in quicker movements, his tone too easily brings to mind a soloist with a somewhat self-satisfied countenance. The slower movements, in which Scholl's voice takes on a different timbre, do much to contradict this impression. For example, in the Ad te suspiramus of the Salve Regina, Scholl's vocal production is almost instrumental-like in its quality, responding to the orchestral textures in a manner that is rarely surpassed elsewhere.

A remarkable surprise comes in the form of the Australian Brandenburg Orchestra, a little-known group outside their native country. Ably directed from the harpsichord by Paul Dyer, their playing is naturally warm and clear, articulate and, where the texture requires more force, never reverts to the sinewy tones that have become almost a trademark of many European orchestras. For this reason alone, the disc should be an attractive purchase, even for those without any particular love for period-instrument playing: warmth, solid technique and exceptional musicality abound from every direction. An excellent recording.

John Woodford